An Action Towards Humanization: Doorn Manifesto in a Transnational Perspective
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Shifts in Modernist Architects' Design Thinking
arts Article Function and Form: Shifts in Modernist Architects’ Design Thinking Atli Magnus Seelow Department of Architecture, Chalmers University of Technology, Sven Hultins Gata 6, 41296 Gothenburg, Sweden; [email protected]; Tel.: +46-72-968-88-85 Academic Editor: Marco Sosa Received: 22 August 2016; Accepted: 3 November 2016; Published: 9 January 2017 Abstract: Since the so-called “type-debate” at the 1914 Werkbund Exhibition in Cologne—on individual versus standardized types—the discussion about turning Function into Form has been an important topic in Architectural Theory. The aim of this article is to trace the historic shifts in the relationship between Function and Form: First, how Functional Thinking was turned into an Art Form; this orginates in the Werkbund concept of artistic refinement of industrial production. Second, how Functional Analysis was applied to design and production processes, focused on certain aspects, such as economic management or floor plan design. Third, how Architectural Function was used as a social or political argument; this is of particular interest during the interwar years. A comparison of theses different aspects of the relationship between Function and Form reveals that it has undergone fundamental shifts—from Art to Science and Politics—that are tied to historic developments. It is interesting to note that this happens in a short period of time in the first half of the 20th Century. Looking at these historic shifts not only sheds new light on the creative process in Modern Architecture, this may also serve as a stepstone towards a new rethinking of Function and Form. Keywords: Modern Architecture; functionalism; form; art; science; politics 1. -
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D.Baciu, Chicago School, OSF Preprints June 2, 2020, pg. 2 Introduction Among the architectural historians of the modern movement, Sigfried Giedion was the most internationally active. Born in Prague to Swiss-Jewish parents, Giedion studied in Vienna and Munich, where he earned his doctorate under Heinrich Wölfflin. 1 A luminary in early modern art history, Giedion's mentor taught methods for the com- parative study art. Wölfflin juxtaposed artworks taken from different time periods and geographical settings, evaluating formal similarities and differences between them. This comparative approach went hand in glove with applied psychology that added a new, scientific perspective to art and architectural history. Giedion later adapted juxta- positions of images from in-class lecturing to print publications,2 and he found his own voice as spokesman in a network of artists and architects who united art and science in the service of cultural transformation. The scientific worldviews of the Vienna school together with Bauhaus design and Gestalt psychology formed some of the greatest achievements of this midcentury European vanguard that surrounded the enthusiastic Czech-Swiss historian. Immigrating to the United States in 1938 at age 50, Giedion expected to publish a global history of architecture and industrialization, tentatively titled "The Life of Archi- tecture."3 When weaving American architecture into his narrative, he emphasized the importance of the Chicago school as a future-oriented movement in the late 19th cen- tury. The Chicago school was one of the happy moments in American architecture, in no other country could be seen in the 15 years between 1879-1893 such a vigor to push into the future as shown by the Chicago school.4 These laudatory lines, used by Giedion to open a symposium held at New York University (NYU) in 1939, certainly attracted and pleased the general audience, but they also entangled Giedion into a dispute that he may not have fully foreseen. -
Thought and Feeling in Giedion's Mechanization Takes Command
Proceedings of the Society of Architectural Historians, Australia and New Zealand 30, Open Papers presented to the 30th Annual Conference of the Society of Architectural Historians, Australia and New Zealand held on the Gold Coast, Queensland, Australia, July 2-5, 2013. http://www.griffith.edu.au/conference/sahanz-2013/ Mirjana Lozanovska, “Thought and Feeling in Giedion’s Mechanization Takes Command” in Proceedings of the Society of Architectural Historians, Australia and New Zealand: 30, Open, edited by Alexandra Brown and Andrew Leach (Gold Coast, Qld: SAHANZ, 2013), vol. 2, p 879-889. ISBN-10: 0-9876055-0-X ISBN-13: 978-0-9876055-0-4 Thought and Feeling in Giedion’s Mechanization Takes Command Mirjana Lozanovska Deakin University An internal crisis within architecture and the way histori- ography both presents and conceals it, can be seen most strikingly in the contrast between two publications by the architectural historian Sigfried Giedion, Space Time and Architecture: The Growth of a New Tradition, published in 1941, and Mechanization Takes Command: A Contribution to Anonymous History, published in 1948. These two publications take us back to the scene of World War Two, the former during the war and after Giedion’s affair with America, and the latter after the war. At the time of publication Giedion’s former book, Space, Time and Architecture, was seen as a “blockbuster” by the architectural community (especially in the USA). The latter publication, Mechanization, did not receive a favourable response by the same professional community. Their contrasting histori- ography suggests that the internal crisis of architecture is in a constant struggle with architecture’s exterior, in this case, war. -
Columbia University Graduate School of Architecture, Planning and Preservation
COLUMBIA UNIVERSITY GRADUATE SCHOOL OF ARCHITECTURE, PLANNING AND PRESERVATION Spring 2019 ARCHA4349 Modernization and the Modern Project Instructor: Kenneth Frampton Teaching Fellows: Alireza Karbasioun (ak3936), Ife Salema Vanable (isv2104) Teaching Assistant: Taylor Zhai Williams (tzw2111) Class Meeting: Wednesday 11:00am-1:00pm, AVH Ware Lounge Building and architecture are cosmogonic arts; that is to say, they involve the creation of artificial worlds to stand against the chaos of nature and the erosive forces of time. In that sense, architecture is a material culture close to the necessities of food production and the practice of medicine. Irrespective of whether we have in mind the idiosyncrasies of vernacular architecture or the embodiment of power, building culture like all culture entails a mediation between innovation and tradition. At the same time, modernization as an ever-accelerating instrumental process continues relentlessly to such an extent that we are on the verge of losing our former capacity to assimilate in cultural terms the volatility of constantly changing conditions. Modern architecture since its inception has been continuously challenged to find modes of spatial, structural and material organization capable of responding adequately to new and often unprecedented circumstances. This lecture course has been devised in order to convey to young architects the way in which the Modern Movement may be perceived retrospectively as a series of wave-like formations which come into being, rise to their maturity and then fall away as they are overtaken by new impulses responding to totally different conditions. As the following brief history of the Modern Movement attempts to demonstrate, one may look at the past as a sequence of discernable impulses that each have had their own life span. -
Renaissance Und Barock, and What He Conceived As the Inaugural Move in His Engagement with the History of Art Rather Than the History of Artists
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Harvard University - DASH Wölfflin, Architecture and the Problem of Stilwandlung The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters. Citation Payne, Alina. 2012. Wölfflin, Architecture and the Problem of Stilwandlung. Journal of Art Historiography 7: 1-20. Published Version http://arthistoriography.files.wordpress.com/2012/12/payne.pdf Accessed February 19, 2015 2:28:45 PM EST Citable Link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11878766 Terms of Use This article was downloaded from Harvard University's DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http://nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA (Article begins on next page) Wölfflin, Architecture and the Problem of Stilwandlung1 Alina Payne Figure 1 Sigfried Giedion, Negative for Book Cover, Bauen in Frankreich, Bauen in Eisen, Bauen in Eisen Beton, 1928. In his Space, Time and Architecture (published in 1941 but read as the Norton Lectures in 1938/39 at Harvard) Sigfried Giedion developed what was to become the orthodoxy of modernist architecture.2 What he was looking for, he claimed in the introduction, were the origins of the new modern style, the conditions which gave it rise and that he intuited came from the mass of anonymous industrial and engineering forms that the 19th century had produced. [fig. 1] He insisted that it was the transition into the forms of the 20th century that attracted him and gave him the insights into what the essence of this new style was. -
Renaissance Und Barock, and What He Conceived As the Inaugural Move in His Engagement with the History of Art Rather Than the History of Artists
Wölfflin, Architecture and the Problem of Stilwandlung The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Payne, Alina. 2012. Wölfflin, Architecture and the Problem of Stilwandlung. Journal of Art Historiography 7: 1-20. Published Version http://arthistoriography.files.wordpress.com/2012/12/payne.pdf Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11878766 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Wölfflin, Architecture and the Problem of Stilwandlung1 Alina Payne Figure 1 Sigfried Giedion, Negative for Book Cover, Bauen in Frankreich, Bauen in Eisen, Bauen in Eisen Beton, 1928. In his Space, Time and Architecture (published in 1941 but read as the Norton Lectures in 1938/39 at Harvard) Sigfried Giedion developed what was to become the orthodoxy of modernist architecture.2 What he was looking for, he claimed in the introduction, were the origins of the new modern style, the conditions which gave it rise and that he intuited came from the mass of anonymous industrial and engineering forms that the 19th century had produced. [fig. 1] He insisted that it was the transition into the forms of the 20th century that attracted him and gave him the insights into what the essence of this new style was. He went on to locate his scholarship—his intellectual debts—and he acknowledged the profound influence of two Swiss historians: Jacob Burckhardt and Heinrich Wölfflin, his Doktorvater. -
BREAKING BARRIERS Giancarlo De Carlo from CIAM to ILAUD Lorenzo
BREAKING BARRIERS Giancarlo De Carlo from CIAM to ILAUD Lorenzo Grieco Università degli Studi di Roma Tor Vergata / University of Rome Tor Vergata, Rome, Italy Abstract After World War II, the inflexibility characterizing the first CIAM congresses soon become unsustainable, provoking the criticism of Team 10, active from 1953 for a reform of the congress. The participated discourse of the group, “considering the characteristics of society and individuals”, would be inherited, years later, by the International Laboratory of Architecture and Urban Design (ILAUD), founded by Giancarlo De Carlo in 1976. The laboratory, together with the magazine Spazio e Società (1978-2001), called back to De Carlo’s operative militancy in Team 10, expressing a brand-new approach to urban studies. As De Carlo himself affirmed: “Some messages of Team 10 have been gathered in ILAUD […] but ILAUD and Team 10 are different things”. Indeed, the laboratory strongly pushed on the dimension of the project and on the students’ collective contribution. The project was no more an end point but became the tool through which every possible solution to the problem could be tested. Courses at ILAUD were given by international professionals like Aldo Van Eyck, Peter Smithson, Renzo Piano, Sverre Fehn and Balkrishna Vithaldas Doshi, some already in Team 10. The laboratory formed many young students, and several would have become internationally-recognized professionals -e.g. Eric Miralles, Carme Pinos, Santiago Calatrava, Mario Cucinella-. The paper wants to consider the contribution of ILAUD to urban studies and didactics through the examination of the rich material (annual publications, posters, projects, photos, etc.) collected in the archive of the Biblioteca Poletti in Modena. -
Revisiting Giancarlo De Carlo's Participatory Design Approach
heritage Article Revisiting Giancarlo De Carlo’s Participatory Design Approach: From the Representation of Designers to the Representation of Users Marianna Charitonidou 1,2,3 1 Department of Architecture, Institute for the History and Theory of Architecture (GTA), ETH Zurich, Stefano-Franscini-Platz 5, CH 8093 Zurich, Switzerland; [email protected] 2 School of Architecture, National Technical University of Athens, 42 Patission Street, 106 82 Athens, Greece 3 Faculty of Art History and Theory, Athens School of Fine Arts, 42 Patission Street, 106 82 Athens, Greece Abstract: The article examines the principles of Giancarlo De Carlo’s design approach. It pays special attention to his critique of the modernist functionalist logic, which was based on a simplified understanding of users. De Carlo0s participatory design approach was related to his intention to replace of the linear design process characterising the modernist approaches with a non-hierarchical model. Such a non-hierarchical model was applied to the design of the Nuovo Villaggio Matteotti in Terni among other projects. A characteristic of the design approach applied in the case of the Nuovo Villaggio Matteotti is the attention paid to the role of inhabitants during the different phases of the design process. The article explores how De Carlo’s “participatory design” criticised the functionalist approaches of pre-war modernist architects. It analyses De Carlo’s theory and describes how it was made manifest in his architectural practice—particularly in the design for the Nuovo Villaggio Matteotti and the master plan for Urbino—in his teaching and exhibition activities, and in the manner his buildings were photographs and represented through drawings and sketches. -
Itineraries Through Milan's Architecture
ORDINE DEGLI ARCHITETTI, FONDAZIONE DELL’ORDINE DEGLI ARCHITETTI, PIANIFICATORI, PAESAGGISTI E CONSERVATORI PIANIFICATORI, PAESAGGISTI E CONSERVATORI DELLA PROVINCIA DI MILANO DELLA PROVINCIA DI MILANO /types form, function, meaning in architecture High-rise Milan Fulvio Irace, Federico Ferrari Itineraries through Milan’s architecture Modern architecture as a description of the city “Itineraries through Milan’s Architecture: Modern Architecture as Description of a City” is a project by The Order of Architects of the Province of Milan, organized by its Foundation Scientific Coordinator: Maurizio Carones Managing Director: Paolo Brambilla Editorial Staff: Alessandro Sartori, Stefano Suriano General Manager: Giulia Pellegrino Press Office Ferdinando Crespi “High-rise Milan” Federico Ferrari, Fulvio Irace edited by: Alessandro Sartori, Stefano Suriano, Barbara Palazzi back cover: Studio BBPR, Velasca Tower, longitudinal section, 1951-1958 © BBPR Archive For copyrights regarding any unidentified iconographic materials, please contact the Foundation of the Order of the Architects, Planners, Landscape Architects and Conservators of the Province of Milan www.ordinearchitetti.mi.it www.fondazione.ordinearchitetti.mi.it High-rise Milan Federico Ferrari The high-rise building has always represented one of the themes par excellence of the modernity. The suggestion exercised by the American examples has been one of the strong suits of the Modern Movement, at least since the celebrated journey of Le Corbusier in the United States. Mesmerised by the dream of the vertical metropolis that would free man from the suffocating density of the traditional city, the Swiss architect pushed humanity to embrace without hesitation the skyscraper typology. A symbolic representation of a “drive toward the sky,” as the Promethean effort to annul the restrains of the gravity force, “the skyscraper can be considered as the model of the building magnificence typical of the homo faber of the twentieth century”(1). -
The Post-War Adaptation Strategies of Sigfried Giedion and Alexander Dorner
Lost and found in translation: the post-war adaptation strategies of Sigfried Giedion and Alexander Dorner Janno Martens Introduction In a livid letter to Walter Gropius dated 5 February 1947, Alexander Dorner accuses his colleague Sigfried Giedion of being responsible for the untimely end of his career as museum director five years earlier. After having spent a little over three years at the helm of the Rhode Island School of Design Museum, Dorner resigned from his post after the board had made it clear they harboured no intention of renewing his contract.1 Dorner, convinced that he had become the victim of an anti- German smear campaign, claims in the letter that Giedion confessed to having ‘participated in Mrs. D’s witch hunt against me as a Nazi spy. His kind of Fascism is just as bad as Nazi Fascism and he deserves every word I said to him and more. I rather die than shrink away whenever I meet with so much meanness and wrotten [sic] human qualities.’2 What could have led a German émigré who left his country to escape National Socialist cultural policies to accuse a colleague — one of Jewish descent no less — of being a fascist? A simple yet compelling answer would be that it was motivated by a sense of rivalry: Dorner, unable fully adjust to his new environment, was taking his frustrations out on somebody who had enjoyed great success in both the United States and Europe since the mid-1940s.3 Adding insult to injury, Dorner considered significant aspects of Giedion’s highly influential theories about historical space conceptions to be blatant copies of his own work; in another letter, he confessed to being ‘ashamed’ by the way Giedion had used his ideas without 1 As Daniel Harkett has pointed out, Providence’s local elite were all but unanimous in their assessment that Dorner was a bad fit for the museum both as a person and a curator. -
I SIGFRIED GIEDION‟S “SPACE, TIME and ARCHITECTURE”: AN
SIGFRIED GIEDION‟S “SPACE, TIME AND ARCHITECTURE”: AN ANALYSIS OF MODERN ARCHITECTURAL HISTORIOGRAPHY A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY ZEYNEP CEYLANLI IN PARTIAL FULLFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN HISTORY OF ARCHITECTURE SEPTEMBER, 2008 i Approval of the Graduate School of Social Sciences Prof. Dr. Sencer AYATA Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Arts. Assoc. Prof. Dr. Güven Arif SARGIN Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Arts. Assoc. Prof. Dr. Belgin TURAN ÖZKAYA Supervisor Examining Committee Members Assoc. Prof. Dr. Belgin TURAN ÖZKAYA (METU, AH) Asst. Prof. Dr. Elvan ALTAN ERGUT (METU, AH) Instructor, Dr. Haluk Zelef (METU, ARCH) ii I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name: Zeynep CEYLANLI Signature: iii ABSTRACT SIGFRIED GIEDION‟S “SPACE, TIME AND ARCHITECTURE”: AN ANALYSIS OF MODERN ARCHITECTURAL HISTORIOGRAPHY CEYLANLI, Zeynep M. A., Department of History of Architecture Supervisor: Assoc. Prof. Dr. Belgin TURAN ÖZKAYA September 2008, 172 pages This thesis investigates the key aspects of modern architecture in the first half of the twentieth century by an extensive reading of Sigfried Giedion‟s book on modern architecture: Space, Time and Architecture – The Growth of A New Tradition. -
Mapping the International Education of Architects from Colombia (1930–1970)
$UFKLWHFWXUDO Botti, G 2017 Geographies for Another History: Mapping the International Education of Architects from Colombia (1930–1970). Architectural Histories, 5(1): 7, pp. 1–35, +LVWRULHV DOI: https://doi.org/10.5334/ah.230 RESEARCH ARTICLE Geographies for Another History: Mapping the International Education of Architects from Colombia (1930–1970) Giaime Botti The history of Colombian architecture is poorly understood. This article maps the educational geographies of over 200 Colombian architects between the late 1920s and 1970, examining the historical, geopolitical, and disciplinary shifts that contributed to the international advancement of Colombian architecture. In the 1940s mobility was reoriented from Europe to the USA, while in the 1950s Brazil supplanted these destinations, becoming the main Latin American pole for Colombian student architects, and the Brazilian modernist repertoire was subsequently diffused in Colombia. This article revises long-held ideas about the architectural historiography of Colombia, expanding the geographical scope of the country’s leading architects to reveal the significance of the Americas in their education. Introduction increasingly trained abroad in the next decades. However, In the 1950s, the historians Jorge Arango and Carlos the educational background of Colombian architects has Martínez acknowledged the diverse, international been largely neglected.2 Only recently has the subject of background of 20th-century Colombian architects Colombian architectural education been addressed, in as an